Module Study GuideAcademic Year 2018-2019
Choreography in Performance Location: The Creative Academy, 73a Stoke Poges lane, SLOUGH, SL1 3NY
Module Code: MU5FD18S
Level: 5
Credits: 20
Version No 01 © UWL 2016
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Table of Contents
Choreography in Performance 1Table of Contents21. Module Leader, Teaching Team and Module Administrator Details 32. Key Contacts 43. Further Information 54. Welcome to the Module 84. Timetable/Venue/Rooms 85. Aims of the Module 86. Learning Outcomes 97. Content of the Module 98. Learning Resources 109. Reading List 1010. Assessment: General Information 1211. Details of Assessment 13Assessment 1 13Assessment 2 15
13. Summative Assessment Grid 1814. External Examiner(s) 1915. Statement on Plagiarism 192. Evaluation of the Module 2017. Personal Development Plan (PDP) 2018. If You Have an Issue 2112. Drop-in Support Service 2113. Guide to Learning Sessions 22Session number: 1 22Session number: 2 23Session number: 3 23Session number: 4 23Session number: 5 24Session number: 6 24Session number: 7 24Session number: 8 25Session number: 9 25Session number: 10 25Session number: 11 25Session number: 12 26Session number: 13 26Session number: 14 26
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1. Module Leader, Teaching Team and Module Administrator Details
Module Leader Taira Foo
Subject and School/College
The Creative Academy, London College of Music
Email [email protected]
Phone 07969780063
Location The Creative Academy
Name George Kirkham
Job title The Creative Academy Manager
Email [email protected]
Phone 01753 875 400
Location The Creative Academy
Name Jagdev Khatkar
Job title Quality Assurance and Business Manager
Email [email protected]
Phone 01753 875 400
Location The Creative Academy
Administrator Cassia Rudge
Job title Academic Administrator
Email [email protected]
Phone 01753 875 400
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Location The Creative Academy
2. Key Contacts
They key contacts for your course are set out below:
The Course Leader responsible for this module is George Kirkham, and can be contacted at [email protected]
The Head of Subject responsible for this module is David Henson, and can be contacted at [email protected]
The Head of School/College/Dean of College responsible for this module is Sara Raybould, and can be contacted at [email protected]
The Academic Partner Link Tutor responsible for this module is Marcia Carr, and can be contacted at [email protected]
Total Guided Learning Hours
200
Consisting of:Teaching Contact Hours 42
Independent Study Hours 158
Placement Hours N/A
Assessment:Percentage of final marks assessed by:ChoreographyPerformance
50%50%
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3. Further Information
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4.
Due Dates:
Assessments for this module are due on the following dates: - Please see time-plan
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Section
A
Overview and Content4. Welcome to the Module
Welcome to Choreography 2. Over the next semester you will learn a great deal about contemporary, commercial and classical dance specifically the techniques used in choreography to create new dance pieces. Most of the important information you require for this module is contained in this document. To ensure you are meeting the needs of this module and are able to achieve the learning outcomes successfully, you should familiarise yourself with this document.
Choreography 2 will further develop your creative self while learning the more about specific choreographers and the creation of dance for film. The module provides an opportunity to discuss and analyse professional UK, European and American choreographers.
You will develop a professional knowledge and understanding of the use of the principles, devices and methods in the creation of dance choreography. You will extensively research and investigate the stimulus in order to create a fully realised concept. You will experience dance composition and the art of making structures in which movement occurs, while creating a professional standard of choreography. You will work collaboratively with your peers to create a fully realised dance piece. You will also perform this piece and develop your performance skills in the chosen style of your piece.
5. Timetable/Venue/Rooms
Please see timetable and time-plan
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6. Aims of the Module
· Enable students to create a choreographic work.· Embed a professional working knowledge and clear understanding of the use of choreographic devices within the creative process.· Ensure students are able to recognise and discuss choreographic style.· Increase the use of creative imagination, physical skills, and intellectual judgement while further developing performance skills within a choreographic context.· Display innovative approaches and openness to experimentation in realising a dance work.
7. Learning Outcomes
By the end of the module students will be able to:
Knowledge and understanding LO5 1 Demonstrate a working knowledge and understanding of the
production of dance and the choreographic process. LO5 2 Professionally replicate and present a range of key components
of performance with professional performance discipline.
Intellectual (thinking) LO5 3 Critically evaluate form, content and process of the production of
dance pieces and analyse the choreographic processes and content of produced dance works.
Subject practical skills LO5 4 Demonstrate physically a practical and clear understanding of
choreography and the creation of dance. LO5 5 Demonstrate commitment to their practise and to fellow students
by attending all module lectures and workshops. Failure to do so will be a Health and Safety risk to the student and their peers and as such this will be reflected in their overall mark for this module.
Key transferable skills LO5 6 Successful use of information technology/media in the production
of work LO5 7 Demonstrate commitment to their practise and to fellow students
by ensuring that students meet all Health and Safety requirements of the dance industry.
8. Content of the Module
This module will explore the technique and vocabulary of movement identifying and
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analysing the socio-cultural issues and techniques developed for choreography. The student will learn and perform sequences of movement choreographed by themselves and their peers, engaging creatively with the material; exploring movement principles professionally as an individual and in groups.
Students will study with one primary dance teacher during the course with visits from others to focus on specific aspects of choreography, dance history and appropriate techniques. Each teacher will bring to the classes his or her particular knowledge and experience of dance training and performance. Students will engage in debate and discussion around historic topics, choreographic devices and replicate the movement of specific techniques in the creation of their own material.
Students will learn from one primary tutor with visiting practitioners. Students will explore how to use and apply choreographic devices through workshops/seminars and lectures guided by the tutor. Alongside this, students will be expected to use self directed time to investigate, create and explore the creative self before they begin assignment work. They will be encouraged to reflect and evaluate how they apply their knowledge and understanding of dance and choreography within the creation process.
Lectures and seminars/workshops will reinforce the need for 'audience feedback' to enable the creator to understand how the choreographic work is being received by the audience. When it is appropriate, students will be required to obtain audience feedback in order to enable them to see their work more objectively.
9. Learning Resources
Students will learn from one primary teacher with visiting practitioners facilitating specific genres of dance practice. The majority of the module will be delivered through lectures and seminars with some workshop/practical sessions. It is expected that all students attend all lectures and seminars throughout the course of the semester, so that group choreographic work can be developed successfully week by week. Failure to do so will be a health and safety risk for both the student and others in the class and as such will be reflected in their marks.
Students will identify dances and draw conclusions from the socio-cultural context in which they were created. The students will engage creatively with the material and demonstrate their understanding of the movement associated within particular choreographic works.
Each tutor will bring to the classes his or her particular knowledge and experience of contemporary dance training and performance as well as knowledge of other dance genres. This will demonstrate the importance of physical training and adaptability within the dance industry and the role that dance plays in shaping popular culture.
10. Reading List
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The reading list for your module is displayed below. Any core texts that you will be expected to purchase will also be indicated.
You can also login to the Student Portal and select My Blackboard to see an online version of the reading list shown below for your module maintained by Library Services. This shows real-time availability of books in our library catalogue and direct links to recommended online resources to save your time. Special online support guides (LibGuides) for the subject are also available to help you find relevant information for assignments, with contact details of the Academic Support Librarian for your subject.
Core: · Blom & Chaplain (2010) The Intimate Act of Choreography, Dance Books, UK
Additional Texts: · Bremser, M (2011), Fifty Contemporary Choreographers, London, Routledge · Craine, D and Mackrell, J, (2010), The Oxford Dictionary of Dance, UK, Oxford University press.
Viewing List: · Bluebeard – Pina Bausch · Rize – David LaChapelle · Cost of Living – DV8
Other Learning Resources (journals, databases, Websites) Dancing Times Dance Today www.dance4.co.uk www.southeastdance.org.uk
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Section
B
Assessment and Feedback11. Assessment: General Information
Teaching will be delivered through weekly lectures, practical workshops and considerable use will be made of recorded resources. These will be supported by group seminars in which students will discuss specific issues relating to each topic. Handouts will be provided in some of the lectures and there will be background reading to do some weeks. Students will be expected to undertake significant independent study to complete assignments, requiring them to familiarise themselves both with the LRC resources and additional Creative Academy resources. It is anticipated that electronic bulletin boards and e-mail correspondence will be used to facilitate the exchange of information between students and staff. The internet will also be a useful source of information for students when they come to completing assignments. However, information found on the net must be handled with extreme caution: there is no evidence to demonstrate how valid or accurate it is.
Learning Activities: The approach taken to the acquisition of knowledge and understanding will make use of a blended learning approach. The range of teaching and learning methods on this course will include: · Tutor input during classroom sessions i.e. lectures and practical workshops with one primary tutor and visiting practitioners. The module will provide students with the opportunity to analyse selected film material and pictorial imagery underpinned with practical demonstrations and replication. Students will be provided with selected reading and individual library based/internet research. · Self directed learning through work-place learning and independent research. · The option to have visiting practitioners and speakers, including representatives from national and local business. · Student input in seminars and lectures. · Guided reading.
Assessment methods: A variety of Assessment methods will be used, however the primary vehicle for assessment will be through on-going tutor observation, choreographic work and portfolios. Students will be required to work to deadlines, both within teams and
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independently. The work will be assessed using a variety of methods including: · Tutor marking and observation · Double marking · External verifier
Individual progress in class will be continuously monitored and fed back to students by the module tutor, with input from visiting tutors. The portfolio of learning will demonstrate the student‟s own investigation of the cultural framework in which dance has developed. An understanding of the socio-cultural issues that shaped the development of dance in European and the USA, apply to all areas of this work.
12. Details of Assessment
Assessment 1
Assessment task: Choreography
Weighting: 50%
Date/time/method of submission: Continual Assessment leading up to a live Performance in week 14.
Word count or equivalent: Ongoing assessment of the creation of a 7-20 minute piece.
Assessment criteria:
At the start of the semester students will be given an overview of the completion of choreography.Create a 7 to 20 minute live performance as a group using a stimuli agreed with by the course tutor. The piece must be no shorter than 7 minutes and no longer than 20 minutes, using any appropriate style of dance that suits the choreographic concept and stimulus. The performance should appropriately utilise performance enhancing devices.You will be involved both creatively and as a dancer in the choreographic piece, therefore performance techniques will also be required in order to successfully complete this brief.
The creation of a choreographic work will demonstrate the students understanding of the development of dance technique, devices used in choreography and the cultural context in which it has been created. There will be an opportunity to assign specific roles such as composer/musical supervisor, lighting designer, costume design etc. However, every student must contribute to the choreographic content of the piece.The creation of the piece will demonstrate the student understands of the technical/physical development of dance techniques, devices used in choreography and the cultural context in which it has been placed.
Marking scheme:
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(80-100) The work excels in all or most of the following: performance skills; intelligence; criticality; thoroughness; perspicacity; synthesis (of a broad range of choreographic sources or objects of study); creativity; originality; Student must have attended 100% of course, choreographic style. The process was approached effectively and with clarity of thought and planning. It is the right length, well choreographed and carefully constructed, with a coherent overall structure. The work engages the imagination, spirit and emotions of the recipient.
(70-79) The work excels in three or more of the following: performance skills; intelligence; criticality; thoroughness; perspicacity; synthesis (of a broad range of choreographic sources or objects of study); creativity; originality; choreographic style. The process was well thought out and planned with clarity of thought. It is the right length, well choreographed, with a coherent overall structure.
(60-69) The work displays one or more of the following properties: intelligence; criticality; thoroughness; precision; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. The creative process was very good. It is the right length, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude to choreography, performance and the dance industry. The student has attended 90% of the practical workshops throughout the semester.
(50-59) The work shows some evidence of involvement and a little independence of thought from a range of sources. The creative process was good. It is largely correct, pertinent and coherent, if not very well-ordered. It is the right length and relevant. The student has attended 90% of the practical workshops throughout the semester.
(40-49) The work shows little independence of thought from its (perhaps very limited) sources, and limited signs of any involvement. The creative process needed more thought and development. It might be poorly ordered with a certain amount of redundancy, but it must be close to the right length, at least partially pertinent and coherent and is performed well. The student has attended less than 90% of the practical workshops throughout the semester.
Referral (20-39)
The assignment fails when it is at least three of the following: very badly performed; heavily redundant; incoherent; irrelevant; of the wrong length. The process was not well ordered and badly planned. The student has attended less than 80% of the practical workshops throughout the semester.
Fail (0-19)
The work fails (badly) when it is all, or all but one, of the following: very badly performed; heavily redundant; incoherent; irrelevant; of the wrong length. Student demonstrates no understanding or knowledge of a professional attitude to the creation of choreography or the dance industry. The work is of a very poor standard throughout showing little or no understanding of the brief. So heavily flawed conceptually that
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the work is rendered almost entirely meaningless. Shows crucial omissions in content, or meaning has disappeared into a morass of irrelevant materiel. OR No work submitted for assessment. The student has attended less than 50% of the practical workshops throughout the semester.
Timing and methods of feedback
Formative feedback will be provided on a ongoing basis from tutor verbally. Summative feedback will be provided by tutor in writing with 15 working days after submission of final assessment of the semester.
Assessment 2
Assessment task: Performance
Weighting: 50%
Date/time/method of submission: Live performance in week 14.
Word count or equivalent: 7-20 minute dance piece.
Assessment criteria:
Following the group creative process in order to create an original piece of choreography based on the agreed stimulus, the students will be able to perform their own choreography in front of a live, paying audience. This performance will be a part of a mixed bill with other performances and creations. The choreography needs to be relevant, engaging and suitable to be performed in such a production. During the process, all students must consider that as well as creative involvement they will also perform in the group choreography. This performance will be assessed in-line with pre-determined performance devices and skills.
The tutor will assess the development and progression of each student through practical exercises each week and the attendance of each student. The specific areas of performance will be monitored and each aspect/section will be given to a small group to choreograph on others within the group.
The creation of the piece will demonstrate the student understanding of the technical/physical development of dance techniques, devices used in choreography and the cultural context in which it has been placed. The technical ability in the chosen dance style, the performance skills and commitment to the given role will all be assessed. Originality, creativity and innovation will be rewarded.
Marking scheme:
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(80-100) The work excels in all or most of the following: intelligence; performance; criticality; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. It is the right length, pertinent, correct and carefully constructed, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude in their performance and the dance industry. The student has attended 100% of the practical workshops throughout the semester.
(70-79) The work excels in three or more of the following: performance skills; intelligence; criticality; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. It is the right length, pertinent, written, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude in their performance and the dance industry. The student has attended 100% of the practical workshops throughout the semester.
(60-69) The work displays one or more of the following properties: intelligence; criticality; thoroughness; precision; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. It is the right length, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude in their performance and the dance industry. The student has attended 90% of the practical workshops throughout the semester.
(50-59) The work shows some evidence of involvement and a little independence of thought from a range of sources. It is not very well performed with some errors or lack of commitment to the given role. It is largely correct, pertinent and coherent, if not very well-ordered. It is the right length and relevant. The student has attended 90% of the practical workshops throughout the semester.
(40-49) The work shows little independence of thought from its (perhaps very limited) sources, and limited signs of any involvement. It is not well performed and contains clear mistakes and a lack of commitment. It might be poorly ordered with a certain amount of redundancy, but it must be close to the right length, at least partially pertinent and coherent and is performed well. The student has attended less than 90% of the practical workshops throughout the semester.
Referral (20-39)
The assignment fails when it is at least three of the following: very badly performed; heavily redundant; incoherent; irrelevant; of the wrong length. The student has attended less than 80% of the practical workshops throughout the semester.
Fail (0-19)
The work fails (badly) when it is all, or all but one, of the following: very badly performed; heavily redundant; incoherent; irrelevant; of the wrong length. Student demonstrates no understanding or knowledge of a professional attitude to the creation of choreography or the dance industry. The work is of a very poor standard throughout showing little
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or no understanding of the brief. So heavily flawed conceptually that the work is rendered almost entirely meaningless. Shows crucial omissions in content, or meaning has disappeared into a morass of irrelevant materiel. OR No work submitted for assessment. The student has attended less than 50% of the practical workshops throughout the semester.
Timing and methods of feedback:
Formative feedback will be provided on a ongoing basis from tutor verbally. Summative feedback will be provided by tutor in writing with 15 working days after submission of final assessment of the semester.
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13.Summative Assessment Grid
Type of assessment
Module learning outcome(s)
Word count or equivalent
Due date and time
Threshold (if applicable)
Pass mark Weighting
Choreography 1,2,3,4,5,6 and 7
Ongoing Week 14 Yes 40% 40 50%
Performance 1,2,3,4,5,6 and 7
7-20 Minutes Week 14 Yes 40% 40 50%
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14. External Examiner(s)The External Examiner is an independent academic staff member from another institution who provides assurance that the assessment system is fair and ensures that standards on the course are comparable to other institutions.
The External Examiner(s) for this module are listed below. Please note that this is provided for information only; students are not permitted to enter into any correspondence about their marks with External Examiners.
Name Gail Graves
Job Title Head of Vocational Studies
Institution The Royal Ballet School
15. Statement on Plagiarism
Plagiarism is defined as the practice of taking someone else’s work and/or ideas and passing it/them off as your own. It is the action of presenting someone else’s work as one’s own irrespective of intention. Close paraphrasing without adequate attribution; copying from the work of another person, including another student; using the ideas of another person without proper acknowledgement all constitute examples of plagiarism. In addition, the act of re-using work (whether in part or in whole) that you have previously submitted for graded assessment – at the University of West London or at another institution - without properly referencing yourself (known as ‘self-plagiarism’ ) shall also constitute plagiarism.
For further information please refer to the Student Handbook Section 3. University Regulations and Student Code of Conduct
For further advice on plagiarism go to the UWL website:
http://www.uwl.ac.uk/students/current-students/Advice-students-plagiarism
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16. Evaluation of the Module
i) Evaluation framework
Towards the end of the module you will be invited to provide some feedback to the module leader. This will be through an online or paper survey and you will be given a few minutes in a taught session to complete it. Please think carefully about the feedback you provide. Constructive feedback will help your module leader understand your experience and help inform the development of the module. If you have concerns about individual members of staff, these should be taken to your module or course leader whose details are in Section Key Contact of this guide rather than expressed through the survey.
ii) Improvements made in response to student feedback.
The key change to this module is the title. Upon review of last years work with the external examiner, a discussion was raised about how much of the marking is based on the choreography itself and how much it is based on the performance of the individual in the piece. As it is a fairly even weighting, the decision was made to introduce the performance element into the module title. This should prepare the student for a module that requires choreographic skill and process and that culminates in a prepared performance of that choreography.
17. Personal Development Plan (PDP)
Students are responsible for recording notes from weekly lectures either via written or
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electronic means. Students are encouraged to undertake self-directed learning through independent research of dance theatre companies and choreographers and their methodologies. Students are encouraged to see live performances of dance theatre companies where available at theatres such as The Place Theatre or Sadler’s Wells, amongst others. All information gathered will inform each student for both assessments in this module.
Self-directed learning, analysis and interpretation of the materials recorded will inform each student’s personal development. Self-reflection between creative tasks and after rehearsals will also add to each student’s PDP.
18. If You Have an Issue
If you have an issue with the module or course you should speak to your personal tutor or Module Leader in the first instance. You could also speak to your Course Representative who will be able to raise it at a Course Committee which take place once each semester. You can also raise issues with your Course Leader. It is important that you raise matters as soon as possible so that they can be resolved.
If you have a complaint about the course you should raise this informally in the first instance with the Course Leader. If you are unable to resolve it informally, you should use the Complaints Procedure which is outlined in the Student Handbook. You are also encouraged to contact the Students’ Union about it. The University aims to ensure that most issues are resolved informally but the Complaints Procedure is there to help you resolve issues if this is not the case.
19. Drop-in Support Service
Opportunities to gain support are available daily through bookable sessions run by the wellbeing team. Between them, the wellbeing team have experience in all the courses taught at the Creative Academy. Wellbeing staff are there to offer guidance and support on a one-to-one basis, whether academic or personal - Appointment is needed, every Tuesday.
If you want to contact the service please email [email protected] to book an appointment.
*Please note that the service is unavailable between June and September.
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Section
C
20. Guide to Learning Sessions
Session number: 1
Venue: The Creative Academy
Key concepts/issues: Introduction to the requisites of the module. Explanation of presentations and choreographic work required over the course of the module. Mock version of the module in groups to get used to using a current affair within choreography to be performed and analysed at the end of the session. The tutor will reveal the theme of the pieces for them to find a stimulus within that theme.
Delivery method: Seminar and Workshop
Formative/summative assessment opportunities: Assessment 1
Essential reading for this session: Blom & Chaplain (2010) The Intimate Act of Choreography, Dance Books, UK
Recommended reading for this session: N/A
Independent study: Research the chosen theme.
Reference to resources: N/A
Session number: 2
Venue: The Creative Academy
Key concepts/issues: The basic principles of choreography. What is Choreography? What are the principle functions of Contemporary/commercial dance? The students will show their research based on the chosen theme.
Delivery method: Lecture
Formative/summative assessment opportunities: Assessment 1
Essential reading for this session: Blom & Chaplain (2010) The Intimate Act of Choreography, Dance Books, UK
Recommended reading for this session: Bremser, M (2011), Fifty Contemporary Choreographers, London, Routledge
Independent study: Research the chosen stimulus.
Reference to resources: N/A
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Session number: 3
Venue: The Creative Academy
Key concepts/issues: Planning of structure, choreographic vision, content and narrative.
Delivery method: Seminar/Lecture
Formative/summative assessment opportunities: Assessment 1
Essential reading for this session: N/A
Recommended reading for this session: Bremser, M (2011), Fifty Contemporary Choreographers, London, Routledge
Independent study: Research the choreographic process.
Reference to resources: Youtube examples.
Session number: 4
Venue: The Creative Academy
Key concepts/issues: Choreographic Tasks. Taking pre-established sections and areas of research and creating choreographic group and individual tasks.
Delivery method: Workshop
Formative/summative assessment opportunities: Assessment 1
Essential reading for this session: N/A
Recommended reading for this session: Bremser, M (2011), Fifty Contemporary Choreographers, London, Routledge
Independent study: Research and planning of choreography.
Reference to resources: N/A
Session number: 5
Venue: The Creative Academy
Key concepts/issues: Section one. Beginning stages of choreography and how to make it count.
Delivery method: Lecture and Workshop
Formative/summative assessment opportunities: Assessment 1
Essential reading for this session: Blom & Chaplain (2010) The Intimate Act of Choreography, Dance Books, UK
Recommended reading for this session: N/A
Independent study: Research and Planning
Reference to resources: N/A
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Session number: 6
Venue: The Creative Academy
Key concepts/issues: Improvisation. How to expand on ideas through free movement and spontaneous thought.
Delivery method: Lecture and Workshop
Formative/summative assessment opportunities: Assessment 1
Essential reading for this session: N/A
Recommended reading for this session: Craine, D and Mackrell, J, (2010), The Oxford Dictionary of Dance, UK, Oxford University press.
Independent study: Rehearsals
Reference to resources: N/A
Session number: 7
Venue: The Creative Academy
Key concepts/issues: Choreography and Soundtracks. Effective musical accompaniment to dance pieces. Finish cutting music.
Delivery method: Lecture and Workshop
Formative/summative assessment opportunities: Assessment 1 and 2
Essential reading for this session: N/A
Recommended reading for this session: N/A
Independent study: Research and Rehearsal
Reference to resources: Bluebeard – Pina Bausch, Rize – David LaChapelle and Cost of Living – DV8
Session number: 8
Venue: The Creative Academy
Key concepts/issues: Choreography and Costume. Appropriate use of costumes for a dance performance. Continue to choreograph specific sections of the piece.
Delivery method: Seminar and Workshop
Formative/summative assessment opportunities: Assessment 1 and 2
Essential reading for this session: N/A
Recommended reading for this session: Fashion Magazines
Independent study: Research and Rehearsal
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Session number: 9
Venue: The Creative Academy
Key concepts/issues: Rehearsals. How to formulate effective rehearsals.
Delivery method: Seminar and Workshop.
Formative/summative assessment opportunities: Assessment 1
Essential reading for this session: N/A
Recommended reading for this session: N/A
Independent study: Rehearsals
Reference to resources: N/A
Session number: 10
Venue: The Creative Academy
Key concepts/issues: Choreography and Rehearsals
Delivery method: Rehearsals.
Formative/summative assessment opportunities: Assessment 1 and 2
Essential reading for this session: N/A
Recommended reading for this session: N/A
Independent study: N/A
Reference to resources: N/A
Session number: 11
Venue: The Creative Academy
Key concepts/issues: One-to-one Tutorials and self assessment.
Delivery method: Tutorial
Formative/summative assessment opportunities: Assessment 1 and 2
Essential reading for this session: N/A
Recommended reading for this session: N/A
Independent study: Rehearsals
Reference to resources: N/A
Session number: 12
Venue: The Creative Academy
Key concepts/issues: Clean-up Calls. How to perfect a dance piece. Finishing touches and key things to remember.
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Delivery method: Workshop and Rehearsals
Formative/summative assessment opportunities: Assessment 1 and 2
Essential reading for this session: Blom & Chaplain (2010) The Intimate Act of Choreography, Dance Books, UK
Recommended reading for this session: N/A
Independent study: Rehearsals
Reference to resources: N/A
Session number: 13
Venue: The Creative Academy
Key concepts/issues: Mock Performance. Peer evaluation and self-assessing.
Delivery method: Seminar
Formative/summative assessment opportunities: Assessment 1 and 2
Essential reading for this session: Blom & Chaplain (2010) The Intimate Act of Choreography, Dance Books, UK
Recommended reading for this session: N/A
Independent study: Rehearsals
Reference to resources: N/A
Session number: 14
Venue: The Creative Academy
Key concepts/issues: Live Performance of Final Assessment 1 and 2
Delivery method: Live Performance
Formative/summative assessment opportunities: Assessment 1 and 2
Essential reading for this session: N/A
Recommended reading for this session: N/A
Independent study: N/A
Reference to resources: N/A
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